"My One and Only" Ages Well At The Marriott Theatre
By Melody Udell in Arts & Entertainment on Nov 18, 2012 5:00PM
The cast of "My One and Only," courtesy Marriott Theatre.
There’s almost always an audience for classic, old-school musical comedies from the 1930s golden age of theater — especially in the ‘burbs. But with a little cheekiness and a no-holds-barred attitude to offset a forgivably absurd plot, Marriott Theatre’s "My One and Only" proves it’s a show worth seeing to more than the septuagenarian set.
Taking place just after World War I, Texas-bred aviator Billy — played by the immensely impressive triple threat Andrew Lupp — dreams of being the first pilot to charter a nonstop flight to Paris. With his sidekick mechanic Mickey (Paula Scrofano in top comedic form) by his side, Billy’s dream takes a detour when he falls for the glorious Edythe (Summer Naomi Smart), a sophisticated pro swimmer whose claim to fame is being “the third woman to swim the English channel, but the only pretty one.” Smart brings a vulnerability to Edythe, and proves her dancing and singing chops alongside the formidable Lupp.
Billy, desperate to impress Edythe, takes advice from Reverend Montgomery (the disappointingly under-utilized Tony-winner Felicia P. Fields) and gets a gentlemanly makeover from Mr. Magix (Ted Louis Levy), whose Act 2 tap number literally stops the show. Meanwhile, Edythe’s being blackmailed by her scrupulous manager-of-sorts called Prince Nikki (Roger Mueller, who works hard with the shtick he’s given), and makes plans to flee the country with the help of Billy and his plane. In an almost cringe-worthy plotline, the two end up stranded on a desert island and profess their love with a gloriously distracting tap dance in a shallow moat — often splashing the near-giddy audience. (Thomas M. Ryan’s simple yet effective scenic design is at its most impressive here.) Followed by even more hijinks and a dash of slapstick, the two reunite for a happily ever after befitting every frothy, enjoyably ridiculous show.
Catchy showtunes help the musical glide along, even if George and Ira Gershwin’s classic songs seem wedged somewhat awkwardly into the plot. “I Can’t Be Bothered Now” makes an entertaining opening number with the help of the show’s wholly talented ensemble. “Strike Up the Band” and “Nice Work If You Can Get It” are similarly impressive and showcase the two leads’ fine singing skills. And if you’ leave humming “S’wonderful ... s’marvelous” — well, that’s not a bad thing.